By 1808 in the collection of Alexis-François Artaud de Montor [1772-1849], Paris, who probably purchased the panels during one of his several periods of residence in Italy;[1] (his estate sale, Seigneur and Schroth at Hotel des Ventes Mobilières, Paris, 16-17 January 1851, nos. 35, 36, and 39 [with 1937.1.2.a and .b, as by Margaritone d’Arezzo]); Julien Gréau [1810-1895], Troyes; by inheritance to his daughter, Marie, comtesse Bertrand de Broussillion, Paris;[2] purchased September 1919 by (Duveen Brothers, Inc., Paris, New York, and London);[3] Carl W. Hamilton [1886-1967], New York, by 1920;[4] returned to (Duveen Brothers, Inc.); sold 15 December 1936 to The A.W. Mellon Educational and Charitable Trust, Pittsburgh;[5] gift 1937 to NGA. [1] On Artaud de Montor, apart from the unpublished doctoral dissertation of Roland Beyer for the University of Strasbourg in 1978, see Jacques Perot, "Canova et les diplomates français à Rome. François Cacault et Alexis Artaud de Montor,” _Bullettin de la Société de l’Histoire de l’Art français_ (1980): 219- 233, and Andrea Staderini, “Un contesto per la collezione di primitivi di Alexis - François Artaud de Montor (1772-1849),” _Proporzioni. Annali della Fondazione Roberto Longhi_ 5 (2004): 23-62. [2] This information on the post-Artaud de Montor provenance of the work was gleaned at the time Duveen Brothers, Inc., purchased the three panels. See the Duveen prospectus, in NGA curatorial files; Edward Fowles, _Memories of Duveen Brothers_, London, 1976: 116. [3] Fowles 1976, 116; Duveen Brothers Records, accession number 960015, Research Library, Getty Research Institute, Los Angeles: reel 85, box 230, folder 25, and reel 422. The Duveen record indicates that they purchased the painting in Paris from Hilaire Gréau, a son of Julien Gréau. [4] The three panels were exhibited as “lent by Carl W. Hamilton” in the New York exhibition in 1920. Fern Rusk Shapley (_Catalogue of the Italian Paintings_, 2 vols., Washington, D.C., 1979: 1:134) also states that they were formerly in the Hamilton collection, and it is reported that “the Cimabue altarpiece was seen in Hamilton’s New York apartment” by 1920 (see Colin Simpson, _Artfull Partners. Bernard Berenson and Joseph Duveen_, New York, 1986: 199). However, this and other pictures had actually been given to Hamilton on credit by Duveen Brothers (see Meryle Secrest, _Duveen. A Life in Art_, New York, 2004: 422) and were probably returned to the dealers by 1924, when they were shown as "lent anonymously" at the exhibition of early Italian paintings in American collections held by the Duveen Galleries in New York. [5] The original bill of sale is in Records of The A.W. Mellon Educational and Charitable Trust, Subject Files, box 2, Gallery Archives, NGA; copy in NGA curatorial files.